Virginia Athenaeum Sculpture Invitational features WGS Directors

Curated by Alison Sigethy and produced by Veronica Szalus, “Eclipse” is an invitational sculpture show opening Jan 16th at the Athenaeum that examines light and shadow, liminal space, and the passage of time.

An exhibition titled “Eclipse” evokes themes of transformation, obscuration, revelation, and the interplay of light and shadow. The works of Washington Glass School artists Tim Tate, Erwin Timmers, and Michael Janis seems to fit so seamlessly into such a thematic framework, each offering a unique interpretation of these ideas through their distinct techniques and narratives.

Detail of Tim Tate’s work in the “Eclipse” exhibit

Tim Tate is known for combining traditional glass craft with modern video elements and digital media to create mixed-media sculptures that explore themes of memory, mortality, and the passage of time. His works often embody themes of transformation, obscuration, revelation, and the interplay of light and shadow. In this exhibition, Tate’s work symbolizes the moment of revelation that occurs during an eclipse, where hidden truths or forgotten histories come to light. His lenticular prisms that shift between imageries effectively capture the fleeting moment of an eclipse where light is temporarily blocked yet still visible in other forms.
Said Tate: “In my lenticular series, I aim to capture the nature of memory and perception. By layering multiple images within a single lens, I create a sense of depth and dimensionality that shifts and changes as the viewer moves.”

Detail of Erwin Timmer’s cast recycled glass artwork featured in “Eclipse” exhibit.

Erwin Timmers is deeply committed to environmental sustainability, and his works crafted from recycled glass introduce a theme of renewal and regeneration within the “Eclipse” exhibition. Timmers uses discarded materials to create beautiful forms, highlighting the potential for transformation in the most unexpected places—much like an eclipse, which temporarily alters perception and understanding. His work often conveys a narrative of reclaiming what is cast aside, fitting well into the exhibition’s overarching theme of cycles of destruction and rebirth. Once destined for landfills, the recycled materials are reborn as testaments to the power of transformation and the importance of reexamining our relationship with the natural world. Timmers’ recycled glass sculptures also play with light, given the translucent nature of glass, adding a dynamic interplay of illumination and shadow.
Said Timmers about his work in the Eclipse series: “I explore the intersection of environmental waste and beauty. By casting discarded materials into sensuous forms, I aim to reveal the beauty hidden within the discarded and the forgotten. As we stand at the edge of ecological crisis, I believe that art can serve as a catalyst for change, inspiring us to reimagine our place within the delicate balance of the ecosystem.”

Detail of Michael Janis’ “A New Dawn” glass artwork featured in “Eclipse” exhibit.

Michael Janis’ sgraffito glass portraits, which often explore identity, human emotion, and societal themes, align with the “Eclipse” theme by focusing on the layers of human experience and the partial obscuration of self. His technique of layering powdered glass to create complex imagery is akin to the way an eclipse gradually reveals or conceals—shadows and light playing across the surface, revealing deeper meanings. His works evoke the internal eclipses we face—moments where parts of ourselves or our histories are hidden or revealed depending on the perspective or light shed on them. Janis’ portraits also symbolize the personal and psychological aspects of an eclipse, dealing with identity, transformation, and the hidden aspects of the self that come to light.

Said Janis of his frit powder portraits: “Each element of my artwork serves as a kind of representation of the chaotic nature of human existence. By abstracting the realistic figures, I highlight the intricate layers that shape our identities, both internal and external. These divisions symbolize the diverse aspects of our personalities, experiences, and cultural influences that converge within a single being.”

Eclipse
An Athenaeum Sculpture Invitational
Curated by Alison Sigethy
January 16, 2025 – February 23, 2025
Artist Reception: Friday, January 17, 6 – 8 pm
Artist Talk: Sunday, February 23, 2 pm
Participating artists:
Michael Janis
Lori Katz
Mike Price
Carol Prusa
Sarah Hood Salomon
Salih Zeki Sayar
Murat Sener
Michael Enn Sirvet
Tim Tate
Erwin Timmers
Maduka Uduh

The Athenaeum is home to the Northern Virginia Fine Arts Association (NVFAA), an organization dedicated to the maintenance and preservation of the building and the celebration of regional arts.
The Athenaeum Gallery
201 Prince Street, Alexandria, VA 22314

New DC Public Art Design!

Concept 1 design by Michael Janis for DC’s OP & CAH TAP project in Ward 5

WGS Co-Director Michael Janis’ public art design (concept 1 & 2) for DC’s memorial to the Enslaved People that built the US Capitol has many steps before the Mayor’s approval. One can see -and vote! – on the two concepts online :https://engage.dc.gov/JD4865#tab-50371

The DC Commission on the Arts and Humanities (CAH), in collaboration with the DC Office of Planning (OP), awarded Janis the commission create the significant project that aims to shed light on the often overlooked role of over 200 enslaved people whose labor laid the foundation for one of the most iconic symbols of democracy.

public art sculpture from fused glass made at Washington Glass Studio in Washington DC by Michael Janis
TAP DC OP CAH Commemorate DC
Photo of first community input event in Ward 5 site, April 20, 2024

Washington Post on the DC Glass Scene Seen at Artomatic

Washington Post article on 2024 Artomatic exhibit

Great review of Artomatic culture event in the Washington Post. Art critic Mark Jenkins enjoys the all-sorts arts experience and singles out the glass art for comment, including using WGS artist Michael Janis’ artwork titled “Waiting for the Moments that Never Come” as the illustrative work for the show. Writes Mark:

“…Among the various business and governmental sponsors of this year’s Artomatic is a small but internationally renowned arts group, the Washington Glass School. The Mount Rainier, Md., studio has taken a large chunk of the building’s fifth floor to showcase the elegant creations of co-founders Tim Tate and Erwin Timmers and several other glass virtuosos. Tate, who credits Artomatic with playing a significant role in his career, is showing a sculpture that riffs on Leonardo da Vinci’s “Vitruvian Man.” The provocatively androgynous update positions eight glass figures — male, female and combined — in a circle surrounded by mirrors and lights that simulate a sense of endless replication…”

In the galleries: Artomatic: Unpretentious, approachable, convivial – Review by Mark Jenkins, Washington Post, April 5, 2024

https://www.washingtonpost.com/entertainment/art/2024/04/05/art-gallery-shows-dc-area/

By contrast – have a read about how the Washington Post art critic Blake Gopnik thought of the 2004 Artomatic exhibit:

…”The result is the second-worst display of art I’ve ever seen. The only one to beat it out, by the thinnest of split hairs, was the 2002 Artomatic, which was worse only by virtue of being even bigger and in an even more atrocious space, down by the waterfront in a vacant modern office building. I won’t dwell on the art. And I certainly won’t name names…There may just be a few decent things hidden in the mix — with so many thousands of objects on display, the law of averages says there must be. But three hours’ worth of looking didn’t spot too many. Some of the glasswork looked all right. (Glass is such a gorgeous medium it’s hard to screw it up, and you need some basic training even to begin to work in it.)

Artomatic 2004: Hanging Is Too Good for It by Blake Gopnik

November 10, 2004

https://www.washingtonpost.com/archive/lifestyle/2004/11/11/artomatic-2004-hanging-is-too-good-for-it/353b4ecd-8d74-475b-9386-63d5acd048db/

Artomatic runs thru April 28th. 2100 M Street, NW, Washington, DC.

Janis/Porto Exhibit Dominates Detroit!

Michael Janis and Tony Porto glass/mixed media exhibit has dominated Michigan’s press as the news agencies and tv shows all feature works by the artists and their story.

Click here to read story in Detroit News.

Detroit News loves the new glass/mixed media works by Michael Janis and Tony Porto!

Local Fox News – Fox 2 – sent reporters into the gallery to interview Director Aaron Schey and get the story on the Not Grandmas Glass (NGG) exhibit and competition as well as an eyeful of the artworks. Click here to jump to one of the three interviews by Fox.

Fox 2 Detroit interviews Habatat Galleries’ Aaron Schey to dish about NGG and works by Michael Janis and Tony Porto.
“Friendship is Magic” and “Say Your Prayers and Take Your Vitamins” glass/mixed media artworks by Michael Janis and Tony Porto are on exhibit at Royal Oak gallery.

Click Here to jump to article about the Janis/Porto exhibit in the Oakland Press.

Click HERE to jump to article on Not Grandmas Glass exhibit in the C & G newspaper.

Pop Art & Glass – New solo exhibit by Michael Janis & Tony Porto

WGS Co-Director Michael Janis has collaborated with Chicago-based artist Tony Porto on a new series of glass/mixed media sculptures – making their debut solo show debut in Habatat Galleries’ “Not Grandmas’ Glass” (NGG) exhibit/competition. NGG is new and groundbreaking competition, held over 12 months featuring 12 artists that the gallery feels are pushing the medium beyond the norm. The premise of the exhibit is to showcase works that are outside “traditional” studio art glass, where the artists were challenged to make works that would be in a contemporary museum.

Michael Janis and Tony Porto “Lunchtime With Darth Vader”; 2021, cast glass, mixed media, 24″ x 24″ x 9″

Habatat director Aaron Schey said of the NGG show concept: “These artists are extremely innovative and I propose that they will all be important in the future of the glass medium. Creating work that is probably not in Grandma’s art collection…..yet.”

Michael Janis and Tony Porto, “Friendship is Magic”; 2021, kilncast glass, mixed media, 22″ x 22″ x 9″

Paying homage to the underdogs of pop culture – the cartoons, action figures, and toys of childhood, Janis and Porto incorporate figures as diverse as Batman, Darth Vader, My Little Pony, Wonder Woman, Hulk Hogan in their evocative narratives that are at once whimsical and distressing, capturing their complexities and outlandishness.

Michael Janis and Tony Porto “Call For Bruce Wayne”; 2021, cast glass, mixed media, LED, electronics, wood, 20″ X 24″ X 10″

In the works, they walk a really fun line between taking this stuff seriously and also being able to laugh at it all.

Michael Janis and Tony Porto delivered a fantastic online artist talk – hosted by Michigan’s Habatat Galleries (click HERE to jump to YouTube link.)

Mike and Tony outlined their collaborative works, their meanings, and how they managed to work together during the pandemic.

Click HERE to jump to their awesome website!

Maurine Littleton Gallery : Body/Building Exhibit

When She was There.michael_janis

Michael Janis; “When She Was There”; kiln formed glass, glass powder imagery; 24 x 15 x 2″

Maurine Littleton Gallery presents BODY/BUILDING, an interdisciplinary exhibit of thought, architecture and art.

Featuring the work of Erwin Eisch, Nancy Genn, Sergei Isupov, Iliya Isopov, Michael Janis, Richard Jolley, Dorothy Simpson Krause, David Dodge Lewis, Stanislav Libensky, Colin Reid, Ginny Ruffner, Joe Sanders, Holis Sigler, James Tanner and Therman Statom, BODY/BUILDING investigates radically different subject matter approached with similar sensibilities. Exploring human and architectural forms through Vitreographs (prints made from glass plates), ceramics and glass sculpture, each artist conveys structure & relationships in literal, figurative and poetic terms.

Sergei_Isopuv_Monkey

Sergei Isupov; “Monkey”

Plato opined that by defining a singular human archetype, it was possible to create environments that would be universally appealing and accessible to all. As our identities become more complex and our relationships with each other more interconnected, mankind still seeks to find a harmony where the body and space blurs. 

Alternately eloquent and visceral, BODY/BUILDING offers a collection of what most fascinates us: our bodies, our buildings and our relationships. The works contained within are inclined to represent just enough so that we, the viewer, are encouraged/obliged to imagine the rest: the rest of the building, the rest of the body, but most importantly, the rest of the story.

BODY/BUILDING

September 12 – October 17, 2014; Opening Reception: September 12, 2014, 5:30 – 7:30 PM

MAURINE LITTLETON GALLERY

1667 WISCONSIN AVENUE, NW / WASHINGTON, DC 20007